Panama is a muddled and befuddling film, offering a few choice Neveldine aesthetic choices but otherwise exhibiting a confused embrace of cliché. Intended as a temporary…
Alice is but another well-intentioned but utterly ham-fisted confrontation of America’s original sin. While history books are quick to tell us that Lincoln’s Emancipation Proclamation of…
Bloody Oranges is late-’90s Tarantino knockoff adorned with finger-wagging political window dressing. Partway through alleged French comedy Bloody Oranges is an epigraph from Marxist philosopher Antonio Gramsci (yes,…
All My Friends Hate Me’s off-kilter framework is both a blessing and curse, but there’s an abrasive charm for those willing to play its uncomfortable…
Ultrasound is appealing in spurts but frustratingly sticks to a safe middle ground where it could have stood to be messier. Rob Schroeder’s Ultrasound exists on…
Asking for It is a cheap and muddled affront to the women it seeks to foreground. Asking for It, the debut feature from writer-director Eamon O’Rourke,…
Mother Schmuckers is sub-John Waters more-busting that fails to understand the essential appeal of its inspirational touchstone. American audiences encountering the Belgian gross-out comedy Mother Schmuckers…
The Desperate Hour is such a shrug of a film that it isn’t even worth considering the potentially offensive exploitation of its conceit. With The…
Studio 666 is an obvious labor of love for Grohl and co., but one that delivers neither the necessary horror or comedy of its fan-service inspiration.…
A Banquet is atmospherically impressive for its first two acts, but doesn’t quite know how to stick the landing. The decision to eat or abstain…
The Cursed is blessed with beautiful images but is otherwise plagued by an overly familiar werewolf narrative. Why’s it so hard to make a good…
King Knight sets its sight on targets as broad as a barn, but somehow still misses. Writer-director Richard Bates Jr. made a bit of a splash…
Blacklight is a low point in Neeson’s tough-guy thriller canon. At some point in the latest Liam Neeson product Blacklight, our hero, a stoic FBI operator,…
Catch the Fair One doesn’t quite pull off its untidy ending, but it’s still an impressive bit of viscerally and emotionally pummeling cinema. Integrating the texture…
Here Before suggests early promise, but ultimately settles into rote psycho-thriller styling and manipulative table-setting. Stacey Gregg’s Here Before has all the markers of a good…
The Other Me amounts to little more than an empty spectacle banking on David Lynch’s name. Let’s get it out of the way: the most interesting…
There’s some mild fun to be had with Last Looks’ particular soft noir style, but it ultimately registers as a pale imitation of something you’ve seen…
The Last Thing Mary Saw is sedate bit of moody horror that takes an array of cinematic reference points and flattens them until there’s little…
Shattered is a sleazy erotic thriller knockoff, one that never realizes its camp potential but which boasts a few poor-taste pleasures along the way. Hidden within…
Although it doesn’t quite stick the landing, See For Me is still a precise, no-frills genre exercise that makes the most of its limited budget and…